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Sound Diffusion Systems for the Live Performance of Electroacoustic Music

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Sound Diffusion Systems for the Live Performance of Electroacoustic Music The University of Sheffield James R. Mooney Sound Diffusion Systems for the Live Performance of Electroacoustic Music An Inclusive Approach led by Technological and Aesthetical Consideration of the Electroacoustic Idiom and an Evaluation of Existing Systems Volume 1 Introduction and Chapters 1 - 3 Submitted for the Degree of Ph.D. in the Faculty of Arts Department of Music August 2005 IMAGING SERVICES NORTH Boston Spa, Wetherby West Yorkshire, lS23 7BQ www.bl.uk THIS THESIS CONTAINS A MUSIC CD -UNABLE TO COPY- PLEASE CONTACT THE UNIVERSITY IF YOU WISH TO SEE THIS MATERIAL Abstract This thesis documents research in the field of sound diffusion for the live performance of electroacoustic music. Broad and inclusive ways of conceptual ising electroacoustic music are presented, with the intention of promoting the design of improved sound diffusion systems in the future. Having defined 'electroacoustic music' in telll1S of the technologies involved and the unique ways in which these creative frameworks are appropriated by practitioners (Chapter 1), a binary interpretation of the electroacoustic idiom, whereby musical philosophies can be regarded as either top-down or bottom-up, is given (Chapter 2). Discussion of the process of sound diffusion itself reveals two distinct perfom1ance praxes, which can also be characterised as top-down and bottom-up (Chapter 3). These differing ideologies, in addition to the technical demands of the electroacoustic idiom and the logistical demands of sound diffusion itself, must be accommodated by the sound diffusion system if live performances are to achieve the desired musical communication. It is argued that this is not presently the case. A system of criteria for the evaluation of sound diffusion systems is presented (Chapter 4). Two original concepts - the coherent audio source set (CASS) and coherent loudspeaker set (CLS) - are also presented; these are intended to be practically and theoretically useful in the field of sound diffusion. Several existing diffusion systems are evaluated in terms of these criteria (also Chapter 4). A description and evaluation of the M2 Sound Diffusion System, which was co-developed by the author as part of this research, is also given (Chapter 5). The final chapter describes ways in which superior future systems can be devised. These range from specific practical suggestions to general methodological recommendations. Overall, the intention is to provide an interpretation of the electroacoustic idiom that can be used as a heuristic tool 111 the design of new sound diffusion systems. \\ Acknowledgements In no specific order, I would like to thank: My family, for their unwavering support throughout what has, In many respects, been a difficult and challenging four years; My friend and colleague Dr. David Moore, for collaborative work, guidance, and general advice and inspiration; Nikos Stavropoulos, Mark Horrocks, Menia Pavlakou, Carla Ribeiro, and Themis Toumpoulidis, who are both friends and fellow Ph.D. students; Dr. Colin Roth, whose guidance has been extremely significant, and whose writings I and theories have been nothing short of inspirational; My supervisor, Dr. Adrian Moore, for giving me the opportunity to carry out this research, and all of the other staff at the Music Department; Professor Jonty Harrison, for his enthusiasm, support, and very kindly donated opinions (see Appendix 1); Tom, Cathy, Rachel, Katie, John, Becky, Simon: sorry to lump you all together, but J had to limit myself to one page! I would like to dedicate this work to my Mum and Dad, and also to the fond memory of my cat, Beep, who sadly died while I was studying here. Beep: 1988 - 20tb May 2004. I Roth (1997). Being Happier (Sheffield; Kingfield Press). 111 I j j j j j j j j j j j j j j j j j j j j j j j j j j j j l'l j j Preface These are some of the empirical observations and concrete experiences that ultimately led to my writing this thesis. When I first experienced the live diffusion of electroacoustic music - at the Sonic Arts Network Conference in 1999, which I attended mainly out of curiosity during my undergraduate Music studies at Newcastle University­ I was impressed by the results, but confused by the process. 'Isn't it strange,' I thought, 'to playa CD in front of a quietly seated audience?' 'Isn't it strange that people obediently applaud at the end?' Like many newcomers, I also wondered, 'What is the performer actually doing with that mixing desk?' It is also true to say that, at the time, I was a newcomer to electroacoustic music in gcneral. As a mainly instrumental performer I was intrigued - but equally confused - by this new musical language, with its strange perfonnance practice conventions. Later. while working towards an M.Sc. in Music Technology at York University, I was able to experience more elcctroacoustic music, and began also to compose some myself (as an undergraduate I had specialised in 'music technology,' but my compositional work had always been essentially 'instrumental' in nature). Similar questions crossed my mind in diffusion concerts, only this time they were better infomlcd: 'How many channels are we dealing with?'; 'How is the surround sound effect being achieved?'; 'What is pre-composed, and what is happening live?' and ultimately, 'What is the performer doing with that mixing desk?!' I was almost disappointed to learn that, most of the time, we are dealing with only two channels (stereo), and that 'all' the pcrfomler is doing, is controlling the levels of various pairs of loudspeakers. 'It really is just like playing back a CD in front of an audience,' I thought. I don't recall what I imagined the performer might have been doing, but I suppose I hoped it might be more exciting than that! Also while at York, I was introduced to the Ambisonic surround sound system, and became fascinated with the possibility of controlling sound v sources three-dimensionally. As my final M.Sc. project, I wrote two pieces of software for Ambisonic panning. Whilst researching this project, I happened to read a paper by Jonty Harrison entitled 'Sound, Space, Sculpture: Some Thoughts on the What, How, and Why of Sound Diffusion.'2 This satiated some of my curiosities relating to sound diffusion. It even helped to answer my recurring question, 'What is the performer doing with the mixing desk?' It helped me to gain a clearer idea of the 'what' and 'how' of sound diffusion, but I was still confused about the 'why.' Why would composers restrict themselves to working in stereo when multichannel fom1ats were so easily available? I was also unconvinccd of the methods (the 'how,' I suppose) of sound diffusion: how could performers be satisfied with such a crude and apparently imprecise means of controlling the final outcome? Surely, given that the perfom1er is doing so 'little' anyway (this is what I thought at the time), multichannel formats would far more flexible and precise; why bother with this seemingly tokenistic 'performance' stage? I was fairly convinced that my Ambisonic plugins, which would allow composers to accurately control the three­ dimensional projection of sound in the studio, were a much better solution. It was not until I arrived at Sheffield University that I had the chance to diffuse electroacoustic music myself. My supervisor, Adrian, asked if I would like to diffuse a piece at the forthcoming concert (if I recall correctly, the concert was entitled 'Xhbt B,' and took place in the Long Gallery of Sheffield's Millennium Galleries in November 2001). The piece was Ake Parmerud's Les Flutes en Feu (1999).3 I wasn't entirely sure what was expected, but from Harrison's paper I gathered I had to 'make the loud material louder and the quiet material quieter - thus stretching out the dynamic range to be something nearer what the ear expects in a concert situation. ,4 This seemed straightforward enough, and armed with this information, I set about creating a graphical score to aid me in my task. 2 Harrison (1998). "Sound, Space, Sculpture - Some Thoughts on the 'What,' 'How' and 'Why' of Sound Diffusion". Organised SOl/lid. 3(2): 117-127. 3 Various (2000). Metamorphoses 2000. (Compact Disc - Musique & Recherches: MR2000). 4 Harrison (1998). "Sound, Space, Sculpture - Some Thoughts on the 'What,' 'How' and 'Why' of Sound Diffusion". Organised SOl/lid. 3(2): 121. VI There were plenty of flute crescendi that, I felt, would lend themselves very well to such dynamic exaggeration. I also decided, from listening to the piece at home, that certain sections would sound effective if they disappeared into the distance at the front or rear of the hall. I enjoyed my first hands-on experience of sound diffusion but, I have to say, I still wasn't completely convinced that it was a strictly necessary procedure, nor that the means for achieving it were especially well-suited to the task. Much of the time, I felt limited by the fact that the material was stereo, and restricted by the at times unrelenting pace of the music in comparison with the cumbersome task of manipulating faders. I still ended up thinking that - enjoyable as the experience was - it would ultimately be better to do a multichannel composition to begin with. Certainly, some of my observations were nai've. On the other hand, some of them were - and I believe still are - valid, and continue to be raised by experienced practitioners and newcomers alike. One aspect that I found particularly hard to comprehend, both conceptually and aesthetically, was the fact that sound diffusion seemed to involve the spatialisation of material that is itself already spatialised. I had no di fficuIty, conceptually, with the idea of 'panning' a monophonic source in real time, nor with the idea of spatial ising stereophonic sources within a larger sound field: the software I developed at York was capable of both of these things.
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